The Nikon ZR cinema digital camera has begun arriving in filmmakers’ palms. I bought mine late final week and thought I’d share a couple of preliminary impressions.
First off, bear in mind that that is solely the primary of a collection of articles I intend to do on the brand new Nikon ZR cinema digital camera. I bought an opportunity to have a really transient have a look at a pre-production mannequin a few months previous to launch, and that was sufficient to persuade me that it was a software I wanted in my equipment. I instantly positioned a pre-order and my private unit arrived within the mail late final week. I haven’t but had an opportunity to place it into an expert state of affairs, so as we speak I’ll give attention to the issues which might be straightforward to determine and mission after you have the digital camera in hand. I’m planning to make use of this as a B-Cam to my RED Komodo on an promoting marketing campaign in a few weeks. I’ll circle again after that to do a full “how does it carry out within the area” take a look at. However I’ve spent the previous weekend doing a litany of mundane exams to seek for any purple flags or to determine its greatest use in my very own workflow. This text will relay a few of these observations.
I’ll provide you with a short define of my use-case to start out. I’m a director/DP and nonetheless photographer. My work spans each narrative and industrial work. I personal a RED Komodo, which is my main video software (when not renting bigger our bodies just like the Arri Alexa). I personal a pair of Nikon Z9 cameras, that are my main images instruments. I didn’t purchase the ZR to switch both of these. Quite, I purchased it to complement what I have already got. A digital camera that may be a backup/B-cam when taking pictures with my Komodo or a devoted video/gimbal digital camera when taking pictures with my Nikons. Or, as I’ll clarify later, a digital camera setup that may embody all 4 concurrently with workflow enhancements granted by the linking of the 2 manufacturers. With that in thoughts, listed here are the professionals and cons instantly evident when taking the digital camera out of the field.
Dimension Issues
The small measurement of the Nikon ZR is an absolute game-changer for me. As somebody who’s continuously working with totally rigged high-end cinema cameras just like the Alexa or the Sony Venice II, and whose nonetheless our bodies are each built-in-grip battleships that weigh a ton, I actually, actually recognize how small and light-weight the ZR is. Maybe it’s due to my advancing age or maybe it’s as a result of my perspective towards my work has progressively shifted, however I now not really feel the necessity to at all times be carrying the largest and most visibly spectacular equipment accessible simply to show my price as an artist. In reality, I’ve been actively shifting my mindset to reset my give attention to what truly issues — storytelling.
And if I’ve realized something from my years reviewing cameras for this website, it’s that you just don’t want to spend so much to get a terrific picture. There are creature comforts, a few of which I’ll talk about in a second, however relating to base picture high quality, we’re spoiled for alternative. If you understand how to mild, compose, and work along with your expertise, you possibly can create nice artwork with just about any software in your hand. So, why not make that software as small as potential?
So, as I’ve constructed out the “ZR backpack” in my total equipment, what has instantly jumped out at me is that that is going to be the digital camera I’m almost definitely to select up 90 % of the time. Clearly, on giant consumer work or on jobs that demand extra, this won’t be the case. However for on a regular basis cinematography, operating lighting exams, run-and-gun, one-man-band filmmaking, or perhaps a fast zoom name, that is the digital camera I’ll be reaching for.
I discussed that I’ll be utilizing it as a B-cam to my Komodo on an upcoming marketing campaign. The sunshine measurement makes this digital camera excellent for gimbal work. Even somebody like me who completely hates gimbals—primarily due to my very own lack of ability to stability the digital camera in an affordable period of time—can stability the ZR in two seconds. So I see it turning into fairly customary for me to have my Komodo on sticks and my ZR on the gimbal side-by-side. The elevated effectivity on set is tangible. However even when it’s a full day of handheld work or utilizing this as an A-cam on documentary or low-profile narrative work, the small measurement of this digital camera makes me need to choose up this digital camera versus having to select up a number of the bigger our bodies. A small however essential distinction.
R3D NE
A primary cause I can use this digital camera together with my different RED is due to the R3D NE implementation. You will need to observe that the ZR data R3D NE, not the usual R3D you would possibly discover in different RED cameras. Additionally, you get 12-bit colour versus 16-bit. So that’s price noting. Capturing each side-by-side although, I’ve to say that, by way of sensible software, the distinction is one thing that more often than not is not going to be a serious detriment. There may be positively a distinction. But when the trade-off is being smaller and extra moveable versus these 4 further bits, I’m going to be okay with that trade-off on most events. Once more, there are occasions when it completely will matter. However in my very own use-case, which I listed above, 12-bit R3D recordsdata are greater than sufficient. And having spent the weekend taking pictures take a look at footage and pouring over it in DaVinci Resolve, the footage it produces is actually wonderful.
File Dimension
Talking of R3D NE recordsdata, that is an space that deserves consideration. For those who’re not used to working with R3D or uncooked video recordsdata, you’ll seemingly get sticker shock if you notice simply how a lot storage is required. This isn’t particular to the ZR. That is simply one thing to think about when taking pictures uncooked video.
I’ve a 1 TB CFexpress Sort B card. Setting the digital camera to R3D NE at 6 Okay gave me about one and a half hours of house. If you’re taking pictures comparatively brief takes or clips, this gained’t be a problem. If you’re taking pictures prolonged interviews, occasions, and many others., this might be a consideration.
Past sheer file measurement, there are additionally a couple of extra fascinating twists to the story. Figuring out that R3D recordsdata could be giant, I arrange the identical take a look at to have a look at the relative quantity of recording time I might get when utilizing N-RAW, ProRes RAW, ProRes 422, or 10-bit H.264. I used to be anticipating there to be a big drop-off by selecting an alternate format, however apparently sufficient, N-RAW and ProRes RAW gave me the identical one and a half hours recording time. ProRes 422 truly gave me much less time — one hour and twenty minutes (on the max decision, which is lower than 6 Okay). H.264 gave me a full two hours. Alternatively, if I shot R3D NE in 4 Okay as an alternative of 6 Okay, I may get two hours out of my 1 TB card.
Picture High quality
There are numerous lab exams being achieved by much more technically oriented reviewers than I, so I’ll allow you to get the arduous numbers from them. However one factor I did do was to shoot footage with all of these codecs and produce it into DaVinci Resolve so I may have a look at the scopes to see what was occurring.
The uncooked codecs all appeared to carry out nicely. There was a transparent benefit to the uncooked codecs over the H.264/H.265 codecs by way of picture high quality. So I do assume that, if you’re serious about getting this digital camera, it is best to plan on taking pictures in one of many uncooked codecs just about on a regular basis. The exception could be ProRes 422 in case you have a fast consumer turnaround. However as I discussed, this truly used extra space than the uncooked codecs, not much less, so the one actual profit is fast turnaround or ease in your pc through the modifying course of.
Once more, I didn’t do excessive exams like over- or under-exposing by 28 stops to see if I may pull it again. I’m principally excited about my sensible workflow the place it’s unlikely I’m going to be below or over greater than two stops at any given second. However I did strive some higher-contrast scenes to see if I may pull element out of the shadows and/or maintain my highlights. All the uncooked codecs carried out nicely below these situations. I do assume most individuals shopping for this digital camera will probably be utilizing R3D NE. However I particularly wished to carry out this take a look at as a result of it signifies that if I have been utilizing the ZR alongside my Z9s (or Z8, Z6III), I may shoot as an alternative in N-RAW to match these different cameras with out feeling as if I’m sacrificing high quality.
Previous to launch, Nikon was saying there are 15+ stops of dynamic vary. Early stories appear to counsel this won’t be mathematically true based mostly on lab testing. However as I mentioned, I’m not somebody who does lab exams. I simply need to know, in sensible phrases, is there sufficient dynamic vary for my very own wants. And not less than in my preliminary exams I feel there’s greater than sufficient.
Versus The Z6III
Talking of pairing this digital camera with different Nikons, one thought that did bounce out to me as I actually began to deal with the Nikon ZR Cinema Digicam was that there are extra comparisons to the Nikon Z6III than I had initially imagined. The Z6III is a wonderful digital camera. And whereas that digital camera is extra of a hybrid digital camera and the ZR is being branded as a “cinema” digital camera, there are delicate variations and similarities you’ll need to contemplate when making your buy.
The principle distinction between the 2 is that the ZR gives R3D NE, inside 32-bit float (which we’ll talk about extra in a second), and that massive stunning 4-inch LCD display. Conversely, what the Z6III provides you is a full-sized HDMI and an EVF. Which is extra essential to you’ll 100% rely in your particular person use-case.
For me, as a result of the Nikon Z9 is my main nonetheless/hybrid physique, I’m okay giving up the EVF on the ZR in trade for the opposite advantages of the digital camera. I’m not likely utilizing the ZR as a hybrid physique. I’m utilizing it solely as a video choice. However, if I have been in search of a hybrid physique, the Z6III should be a more sensible choice. As somebody who is much too previous and grumpy to ever contemplate taking pictures severe stills with out an EVF, that’s merely important if I have been planning to make use of a software for images. The ZR has all the identical specs on the images entrance because the Z6III, however it’s completely not designed with images in thoughts. This can be a cinema physique. It says so proper there on the badge.
32-Bit Float
The place the ZR actually does draw back from the competitors although is with the inner 32-bit-float audio. I’ve been utilizing 32-bit-float area recorders for years. It has been an enormous breakthrough as I’m usually tasked with recording my very own sound on-set. And, whereas I’m completely educated in setting my ranges, the extra consideration I pay to sound, the much less consideration I’ve left for visuals and efficiency. 32-bit-float audio has allowed me to relaxation straightforward that I’ll have sufficient headroom in publish if I don’t 100% nail my ranges and has been essential by way of effectivity.
The ZR takes that effectivity one step additional. Having 32-bit-float constructed immediately into the digital camera has allowed me to maneuver my area recorder to the again of my equipment as an alternative of needing to tug it out each time. To be clear, there will probably be occasions once I have to report separate tracks of 32-bit-float and need to use my premium audio setup. I’m not throwing out the Zoom F6. However, for all of the occasions I have to shoot a fast interview, movie myself speaking for a YouTube or promo video, or just am capturing audio from one actor at a time, I can now go away my area recorder at residence and report 32-bit-float in-camera already married to my footage. This protects house in my bag. Retains issues tidier on-set as a result of I don’t have to fret about the place my area recorder is. And it saves me time each on-set and in publish as a result of I now not have to sync the recordsdata and match timecode. Truthfully, maybe extra so than the R3D recordsdata and different options, the inner 32-bit-float audio may very well be the largest effectivity enchancment this digital camera has to supply.
Pair it with the Hollyland Lark Max 2 and you’ve got 32-bit-float audio throughout the audio chain. I ran a lot of exams with the built-in mics, the Nikon ME-1D Good Scorching-Shoe Microphone, and the Lark Max 2 lavs. All the things sounds nice. However the Lark Max 2 + the ZR is a tremendous pair.
4-Inch LCD
I simply offered off my previous Atomos Ninja V monitor final week. It was in excellent working order. However, I wasn’t utilizing it. Why? As a result of, until I completely should, I might quite not mount an exterior monitor when filming. The 4-inch LCD on the ZR (versus the 5-inch Ninja V) means I actually don’t want an onboard monitor.
Now, if I’m on-set with a full crew and I have to ship a sign out by way of a transmitter, that’s a unique story. In reality, that results in one among my largest gripes with the digital camera. That darn micro-HDMI port. I do know they should maintain the digital camera small, however I’ve damaged so many micro-HDMI ports in my life that I’m fearful that it’s only a matter of time earlier than this one will get me too.
Once more, due to my particular use-case, it’s not the tip of the world. This can be a digital camera expressly bought as a result of it’s small. It’s not the digital camera that I’m more likely to need to overly rig. However there will probably be occasions I’m going to need to transmit a sign to a crew member, and having to rely upon that micro-HDMI port doesn’t fill me with glee.
Nonetheless, having the 4-inch LCD display does imply that, when working solo, I can comfortably go away the monitor at residence.
Additionally, on a aspect observe, I did take the digital camera exterior in vibrant daylight. Typically this could trigger visibility points with an LCD, however I didn’t have any hassle seeing the picture. As I discussed, I’ll put this to the take a look at extra within the upcoming articles, however, for now, visibility on vibrant days doesn’t appear to be a serious drawback.
The Dimension Can Be A Blessing and a Curse
I’ve already mentioned how a lot I benefit from the small form-factor of the ZR. However that does include a few caveats price mentioning.
Other than that micro-HDMI port, Nikon has additionally made the selection to place the cardboard and battery compartment for this digital camera collectively and entry it by the bottom of the digital camera. Once more, this makes some sense I feel given the form-factor. However, as I anticipated once I first noticed a pre-production mannequin of the digital camera a couple of months in the past, even in my testing this placement led to me spending much more time than I would love having to take my digital camera all the best way off the tripod/gimbal to alter out my card. This gained’t be a lot of a problem if you’re rolling handheld with none rigging. However nearly any rigging in any respect will contain the bottom of the digital camera, and needing to take issues aside to alter the CFast card is little question going to have an hostile impact on effectivity.
Additionally, because of the small measurement, I’m not 100% in love with the small joystick that you just use to navigate the menu system. It completely works. However I did discover my massive clumsy fingers struggling at occasions to rapidly get to the place I wished to be within the menu. I positively bought there. However my fingers did get drained, and I normally wanted to default to the touchscreen.
Talking of drained fingers, I additionally assume this can be a digital camera you’re positively going to need to use a cage with. I’ve ordered the SmallRig Cage for Nikon ZR, however haven’t but acquired it. As a result of I’m all-in on making an attempt to construct a minimal rig, I’m pairing the ZR with the smallest Nikon Z-mount lenses I can discover. The stability has been glorious, however I can simply see how this won’t be the case with something longer than, say, the Nikon Z 24-70mm f/4 S. Even with a small setup, my fingers did get just a little drained making an attempt to carry the physique. Not as a result of it’s heavy—it’s tremendous mild. Quite, there isn’t actually a really substantial grip on the digital camera. So relying on the scale of your lens and your palms, it’s possible you’ll need to get the small-rig cage purely to get extra buy on the deal with of the digital camera to make it extra comfy.
The opposite cause I ordered the cage is as a result of, for a cinema digital camera, you’re more likely to want extra mounting factors, each across the digital camera physique and on the base. Once more, I don’t need to construct this up an excessive amount of. However I’ll need to add possibly an extra cold-shoe. And, extra importantly, add extra mounting factors on the base to maintain the digital camera from spinning when mounted on a tripod/gimbal. It solely has a single mounting screw and a locator pin positioned off to the aspect. A cinema digital camera wants two mounting factors down the middle to stop your digital camera from twisting proper to left when mounted with a single screw. Nikon actually ought to have constructed this into the bottom of the digital camera. However now I’ll want so as to add a cage to extend stability. The present setup is extra aimed toward images customers versus video professionals.
Persevering with on from the final level, I’ve been a Nikonian for 20 years. I do know the menu system just like the again of my hand. So all of it is sensible to me. When Nikon began moving into the video enterprise a couple of years in the past, they began increasing their menu choices to accommodate hybrid shooters. Up to now, so good.
However whereas the menus really feel nicely laid out for hybrid cameras just like the Z9, Nikon Z8, and Z6III, they appear much less logical when put right into a purely cinema physique. Easy level: going by the customized settings, you must scroll previous a number of photo-oriented sections earlier than you get to the one video part on the very backside. Once more, this is sensible with all the opposite Nikon cameras. However since, as I discussed earlier, that is actually not a digital camera for photo-first customers, the video choices ought to, on the very least, be moved up entrance. I would take it a step additional and counsel they develop a completely new cinema menu for cameras just like the ZR that locations the issues that matter most to filmmakers up high whereas burying a lot of the photo-oriented instruments deeper within the menu system.
One other observe on the menu system: the digital camera is ready up in order that the Menu button takes you to the I Menu. However then you must hit one thing on the I Menu to get to the total correct menu. It’s not the tip of the world and sure a results of maintaining the digital camera small, however that’s taking me a second to get used to since I’m so used to with the ability to rapidly entry the menu by way of a set Menu button on my different Nikons.
A Couple Issues to Think about for Firmware 2.0
Some issues, like the one mounting level and micro-HDMI port, are simply info of the digital camera. However there are some things I’d like to see added to the ZR by way of firmware.
The publicity instruments are glorious within the digital camera, however there’s room for enchancment. Particularly, I’d like to see false colour. As a present RED Komodo consumer, I’d additionally love if they may by some means incorporate RED’s glorious goal-posts and traffic-lights system. I feel that might give customers coming primarily from RED cameras (not simply lifelong Nikonians like me) a better transition.
Additionally, if that is going to be a cinema digital camera, they should discover a method to combine anamorphic desqueeze into the monitoring system. I’m fairly positive each the publicity instruments and anamorphic assist are potential with firmware updates, so hopefully that’s a part of Nikon’s roadmap.
Velocity
One factor they haven’t skimped on is autofocus pace. The physique makes use of the identical sensor because the Z6III, and autofocus efficiency is equally stellar.
One factor you possibly can’t miss is how briskly this digital camera boots up. Even in comparison with different Nikons, and particularly in comparison with the marathon it takes the Komodo in addition up, the ZR is principally instantaneous. If you’re a documentary shooter or content material shooter and also you need to be able to shoot on the drop of a hat, this can be a main plus.
Lens Flexibility
The Nikon Z-mount is the biggest (bodily) digital camera mount accessible. Because of this you not solely have entry to glorious Nikon lenses, however you may as well adapt just about any lens ever produced from any model to your Nikon ZR. So in case you shoot with PL-mount lenses, E-mount, F-mount, no matter, there’s a terrific likelihood that you should use them along with your ZR.
That is additionally a superb place to say the utility of the zoom swap on high of the ZR. That is clearly there to make for seamless integration with Nikon’s line of power-zoom lenses. However even and not using a PZ lens, I’m discovering that swap tremendous helpful. Primarily, it lets you zoom in rapidly to test essential focus earlier than you shoot. No menu-diving. Simply flick the swap and it’ll zoom in. Since you’re more likely to need to adapt handbook lenses to the ZR in some unspecified time in the future, this can be a huge time-saver.
Timecode
I do want the digital camera had a devoted timecode port. However as some could not know, Nikon has been implementing a Bluetooth timecode setup throughout their cameras for the final a number of years. That is key to me as a result of I’ve at all times been in a position to hyperlink collectively each of my Z9s and my Zoom F6 and Zoom F2 by way of Bluetooth with none cords and preserve constant timecode utilizing the UltraSync Blue. Including an UltraSync One bodily related to my Komodo means it additionally runs on the identical timecode as the opposite 4 gadgets. The ZR can faucet into the identical chain, that means I now have 4 cameras and one sound mixer (plus the lav sound recorder) all related along with similar timecode with none cables.
Professionals
Picture high quality
4-inch LCD
R3D NE (and N-RAW, ProRes RAW, ProRes 422)
Inner 32-bit-float audio
Small measurement
Boot pace
Autofocus
Timecode by way of Bluetooth
Z-mount
Worth
Cons
File measurement
Micro-HDMI port
Battery/card slot on the underside
No anamorphic assist (at launch)
No false colour
Single mounting level on the underside
No bodily timecode port
Conclusions
As I write this I’m trying over at my Nikon ZR mounted to a light-weight monopod a couple of ft away. All I can assume is, “Wow, that’s a small equipment.” And I do know that the totality of the package deal goes to make my life a lot simpler by permitting me to proceed my R3D workflow in a smaller, extra moveable package deal (with autofocus). With the big 4-inch LCD and built-in 32-bit-float audio, I’ve already eradicated two cumbersome gadgets (monitor and area recorder) from my equipment. Due to the inner RAW codecs, I can comfortably go away my bigger cameras at residence on extra events.
I used to be lately listening to a professional DP talk about how having to bodily carry round a big digital camera system can result in bodily fatigue. Bodily fatigue can result in psychological fatigue. Psychological fatigue means much less capability to make use of your mind energy for creativity. It’s not that you may’t shoot one thing wonderful with an enormous rig, however now it’s simpler than ever to get a tremendous picture with out breaking your again—or the financial institution.
At simply over $2,000, the Nikon ZR is a tremendous worth. It’s not an ideal digital camera. I’ve talked about a few of my very own minor gripes above. However it’s a tremendous begin to Nikon’s “cinema” digital camera line, which I can think about will solely proceed to develop and enhance as time goes on. And, proper out of the field, the ZR is already proving it’s going to be a serious workhorse for me that may nicely exceed the worth tag.
